aso20 cu1 program · hedwig’s theme is perhaps more recognisable to a generation than the...
TRANSCRIPT
Violins
Cameron Hill** (Acting Concertmaster)
Shirin Lim** (Acting Associate Concertmaster)
Ann Axelby* (Acting Principal 1st Violin)
Lachlan Bramble** (Acting Principal 2nd Violin)
Julia Brittain ~(Acting Associate Principal 2nd Violin)
Janet Anderson
Minas Berberyan
Gillian Braithwaite
Hilary Bruer
Elizabeth Collins
Jane Collins
Judith Coombe
Belinda Gehlert
Alison Heike
Alexis Milton
Michael Milton
Jennifer Newman
Julie Newman
Emma Perkins
Alexander Permezel
Kemeri Spurr
Violas
Andrew Jezek**(Guest Principal)
Justin Julian~
Martin Butler
Lesley Cockram
Anna Hansen
Carolyn Mooz
Michael Robertson
Cecily Satchell
Cellos
Simon Cobcroft**
Ewen Bramble~
Sarah Denbigh
Christopher Handley
Gemma Phillips
David Sharp
Cameron Waters
Double Basses
David Schilling**
Jacky Chang
Harley Gray
Belinda Kendall-Smith
Holly Little
Henry South
Flutes
Geoffrey Collins**
Lisa Gill
Piccolo
Julia Grenfell*
Oboes
Joshua Oates**
Renae Stavely~
Cor Anglais
Peter Duggan*
Clarinets
Dean Newcomb**
Darren Skelton
Eb Clarinet
Darren Skelton*
Bass Clarinet
Mitchell Berick*
Bassoons
Mark Gaydon**
Jackie Newcomb
Kristina Phillipson
Leah Stephenson
Contra Bassoon
Jackie Newcomb*
Horns
Adrian Uren**
Sebastian Dunn
Emma Gregan
Philip Paine*
Trumpets
David Khafagi**(Guest Principal)
Martin Phillipson~
Gregory Frick
Tim Keenihan
Trombones
Colin Prichard**
Ian Denbigh
Bass Trombone
Howard Parkinson*
Tuba
Peter Whish-Wilson*
Timpani
Andrew Penrose*
Percussion
Steven Peterka**
Jamie Adam
Amanda Grigg
Sami Butler
Harp
Lucy Reeves*(Guest Principal)
Piano/Celeste
Katrina Reynolds*(Guest Principal)
** denotes Section Principal
* denotes Principal Player
~ denotes Associate Principal
ASO Board
Kate Gould Chair
Vincent Ciccarello
Geoffrey Collins
Andrew Daniels
Elizabeth Davis
Laurel Dixon
Byron Gregory
David Leon
Karen Limb
Andrew Robertson
Executive
Vincent Ciccarello Managing Director
Shivani Marx General Manager, People, Culture & Operations
Shecky Kennedy Executive Assistant
Artistic
Simon Lord Director, Artistic Planning
Andrew Groch Artistic Coordinator
Vicki McGregor Learning Coordinator
Yundi Yuan Artistic Liaison
Special Programs & Production
Sarah Bleby Director, Special Programs & Production
Tom Bastians Senior Manager, Box Office & Customer Service
William Jarman Production Coordinator
Steve Virgo Production Assistant
Emma Wight Administrative Assistant/Reception
Leigh Mack Subscriptions and Ticketing Coordinator
Operations
Karen Frost Orchestra Personnel Manager
Janet Carey Orchestra Coordinator
Kathleeen Cowie Orchestral Librarian
Bruce Stewart Orchestral Librarian (On Leave)
Marketing
Renato Capoccia Senior Manager, Marketing
Cheree McEwin Publicist
Ashleigh McManus Marketing Coordinator
Georgie Phillips Marketing Assistant
Development
Annemarie Kohn Senior Manager, Development
Hannah Hillson Development and Events Coordinator
Finance, People & Culture
Shelley Woodward Senior Manager, Accounting
Sophia Cichowski Accountant
Karin Juhl Accounts Coordinator
Sarah McBride Payroll and People Coordinator
Friends of the ASO Executive Committee
John Terpelle President
Michael Critchley Past President
Hon. David Wotton AM Vice President
Ruth Ormrod Vice President
Judy Birze Treasurer/Public Officer
Alison Campbell Membership Secretary
Ruth Bloch Secretary
A D E L A I D E SY M P H O N Y O R C H E S T R A 91 Hindley St, Adelaide SA 5000 | (08) 8233 6233 [email protected] | aso.com.au
M A J O R PA R T N E R S G OV E R N M E N T PA R T N E R S
Arts South Australia
The ASO receives funding through the Australia Council;
its arts funding and advisory body
February
A D E L A I D E
S Y M P H O N Y
O R C H E S T R A
S E A S O N 2 0 2 0
MagicCLASS ICS UNW R APPED 1 :
Wed 12, 6.30pm Adelaide Town Hall
Adelaide Symphony Orchestra
Guy Noble has conducted the Sydney, Melbourne, Adelaide, Western Australian, Tasmanian, Queensland and Canberra Symphony Orchestras, the Auckland Philharmonia, Hong Kong Symphony and Malaysian and Bergen Philharmonic Orchestras.
He is the host and accompanist each year for Great Opera Hits (Opera Australia) in the Joan Sutherland Theatre of the Sydney Opera House. He conducted Opera Queensland’s 2014 production of La Boheme, Opera in the Alps (2008—2017) and Opera in the Markets (2009—2017). He is conductor and host for the Adelaide Symphony Orchestra’s Classics Unwrapped series at the Adelaide Town Hall, and conductor and host for the Queensland Symphony’s Music on Sundays series at QPAC.
Guy has worked with a wide variety of international performers with orchestras across Australia, including Harry Connick Jr., Ben Folds, The Beach Boys, Dianne Reeves, Glenn Frey, Randy Newman, Clive James, Conchita, The Two Cellos, Alfie Boe, Olivia Newton John, Paloma Faith, Ruthie Henshall and Meow Meow.
He is also the host of Concert Hall on Qantas Inflight.
One of the most popular works of all time, and for many their first foray into the world of opera, Mozart’s The Magic Flute has stood the test of time. The text itself is an absurd concoction of fairy tale influences, and the Overture sets the scene for a prince, a princess, a queen who is not what she appears, and an ominous high priest. Of course this is also a world with magical instruments and child spirit-guides!
Liadov is a name we should know better, if only he had written more music. Despite wide admiration from contemporaries like Mussorgsky for his meticulous and richly expressive music, he is now infamous for his indolence. His tone poem The Enchanted Lake is hauntingly evocative. Full of subtle and delicate orchestral colours, this music transports you to a faraway world of magic lakes and captivating water spirits.
From a young age Mendlessohn felt an affinity for Shakespeare’s A Midsummer Night’s Dream, so it is no surprise that the incidental music he composed is one of his most beloved works. The Scherzo, which bridges the first and second acts of the play, perfectly embodies the composer’s ‘elfin’ style; light and effusive music with chattering melodies bouncing between strings and woodwinds, concluding with an iconic flute solo.
Few names are as synonymous with the modern film score as John Williams; the man who brought to life some of the most successful franchises in history. Exceptional for its colour and virtuosity, however, is the music of the Harry Potter universe. Hedwig’s Theme is perhaps more recognisable to a generation than the national anthem; the mystery of the celeste, iconic melodies that sweep through the strings, or the horns which drive the music to its climaxes.
In stark contrast to Liadov, Strauss Jnr is a composer so well known for his prolific output that he became known as “The Waltz King”. With over 500 works including dances, operettas, and a ballet to his name, he was the
biggest musical force behind the popularity of the waltz in Vienna, well-known for hits such as The Blue Danube. His Freikugeln (Magic or Free-Shooting Bullets) polka is a sparkling example of the composer’s effusive style; light, elegant, and fun.
One of Australia’s foremost composer’s, Paul Stanhope’s The Magic Island was commissioned by the Hush Music Foundation, an organisation that brings calming and uplifting care to children’s hospitals through the power of music. Featuring harp throughout, this music is created to transport the listener to ‘an island of hope, playfulness, and optimism’.
Despite a reputation for sometimes appearing cold and detached Ravel had sincere warmth for young people, so much so that he originally wrote the Mother Goose Suite for two of his students based on their favourite fairy tales. Originally for four hand piano and orchestrated by the composer with characteristic colour and flair the following year, the final movement Le jardin féerique (The Fairy Garden) depicts Prince Charming entering a magic garden and awakening his Sleeping Beauty; the orchestra traces a long crescendo to a dazzling finale.
One hit wonders are not confined to the world of popular music. Dukas’s one hit The Sorcerer’s Apprentice, is one of the most recognisable pieces of music ever. Etched into a generation’s consciousness thanks to Disney’s Fantasia, this work is nothing short of a masterpiece; music so vividly evocative that it’s impossible not to understand the hapless apprentice’s escapades and the sorcerer’s timely arrival.
© Andrew Groch 2020
Classical Hits
Program
WOLFGANG AMADEUS MOZART (1756—1791)
The Magic Flute: Overture
ANATOLY LIADOV (1855—1914)
Enchanted Lake
FELIX MENDELSSOHN (1809—1847)
A Midsummer Night's Dream: Scherzo
JOHN WILLIAMS (B.1932)
Hedwig’s Theme
JOHANN STRAUSS I I (1825—1899)
Freikugeln
PAUL STANHOPE (B.1969)
The Magic Island
MAURICE RAVEL (1875—1937)
Mother Goose Suite: Le jardin féerique
PAUL DUKAS (1865-1935)
The Sorcerer’s Apprentice
CONDUCTOR/PRESENTERGuy Noble
MagicCLASSICS UNWRAPPED 1
PROGRAM NOTE
This concert will run for approximately 1 hour and 20 minutes, no interval.
DURATION
Program includes: Strauss Also Sprach Zarathustra (excerpt) Puccini O Mio Babbino Caro Gershwin Rhapsody in Blue Wagner Ride of the Valkyries Tchaikovsky 1812 Overture
Guy Noble Conductor
Desiree Frahn Soprano
Konstantin Shamray Piano
This is your chance to hear some of the greatest music ever written, all on one stage.
Fri 26 & Sat 27 Festival Theatre
June